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  • 76 395: Science Writing

    9.00 Credits
    Carnegie Mellon University

    This course will teach students how to write clear, well-organized, compelling articles about science, technology and health topics for a general audience. Students will learn how to conduct research on scientific topics using primary and secondary sources, how to conduct interviews, and how to organize that information in a logical fashion for presentation. For writing majors, the course will increase their understanding of scientific research and how to describe it accurately and completely to a general audience. For science majors, this course will teach them how to craft fluid, powerful prose so that they can bring their disciplines to life. The course is not intended just for those who want to become science journalists, but for anyone who may have the need to explain technical information to a general audience, whether it is an engineer describing a green building project at a public hearing, a doctor describing the latest research on a disease to a patient advocacy group, or a computer programmer describing new software to his firm's marketing staff. Students will get a chance to read several examples of top-notch science writing and interview researchers, but the primary emphasis will be on writing a series of articles -- and rewriting them after they've been edited. The articles will range from profiles of scientists to explanations of how something works to explorations of controversies in science. Students should expect to see their writing critiqued in class from time to time, in a process similar to what journalists routinely go through. The goal will be clarity and verve; the ethos will be mutual learning and enjoyment.
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  • 76 396: Non-Profit Communication: Genres, Methods, and Issues

    9.00 Credits
    Carnegie Mellon University

    Given the changes brought on by the information age, non-profit organizations, like all organizations, face an increasing diversity of audiences and media choices. What hasn?t changed is the need for effective arguments (print and digital) that respond to both the situations at hand and their organizational contexts. In this course, designed for students pursuing careers in professional communication, we?ll examine the critically important practices of argument and advocacy. And while our central focus will be on non-profits?the arts, education, political advocacy and social causes?the techniques we?ll learn are also broadly applicable to communications careers in all sectors. Our main focus will be on how arguments and media choices respond to communication philosophies, to specific organizational goals and, of course, to rhetorical situations. Among other questions, we will ask, how does speaking in the ?voice? of an organization change the way we communicate? How can we adapt the genres of organizational communication to meet our organization's goals? How can we have impact while working with limited budgets? The end result will be a professional portfolio that demonstrates both relevant skills and a high-level theoretical understanding of what makes a public argument successful. Students will also gain experience in translating their technical expertise into resume language that potential employers understand and look for.
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  • 76 400: Literary Culture of Russia

    6.00 Credits
    Carnegie Mellon University

    A1 Literary Culture of 19th Century Russia: The purpose of the course is to give students an introduction to the cultural environment of Imperial Russia through the works of major 19th century Russian writers. We will read and analyze some masterpieces of Russian fiction, including works of Pushkin, Lermontov, Gogol, Turgenev, Dostoevsky, Tolstoy, and Chekhov. Emphasis will be made on how these brilliant classics reflected turbulent history of the 19th century Russia. A2 Literary Culture of 20th Century Russia: This mini-course focuses on Russian prose and poetry of the early 20th century. Readings will include the proletarian writings of Maxim Gorky, symbolism of Alexander Blok, futurism and modernism of Vladimir Mayakovsky, as well as works of some other authors. We will discuss issues important to the 20th century Russian Cultural History such as the role of intelligentsia in Russian Revolution, the content and method of Russian decadence, symbolism, and modernism, as well as imprisonment, liberation, and exile that became so important for many writers and poets.
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  • 76 418: Rhetoric and Narrative

    9.00 Credits
    Carnegie Mellon University

    Narratives are most frequently thought of as a literary genre but in reality they are a much more diverse and highly rhetorical genre. Narratives are also a powerful way of influencing the interpretation of events and situations, and the promotion of certain goals and agendas. They are in fact a form of strategic discourse. We see this, for example, in the increasing use of narrative in journalism, in the presentation of controversial historical events, in current political debates about immigration reform, and in workplace communication. In these contexts, narratives function as a source of authority and legitimation. To understand this function, we will discuss several key concepts in narrative theory, and then apply them to several case studies. We will look at how immigrant narratives circulating in the United States create stock images of immigrants as a threat; at how politicians use autobiographical narration to claim authority; and at how workplace narratives establish roles, boundaries, and power relations. The requirements for this course include one mid-semester take home exam (made of short essay questions and the analysis of a given text) and a final research paper.
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  • 76 421: Genre Studies

    9.00 Credits
    Carnegie Mellon University

    This seminar will explore the idea that realism and/or naturalism represented the dominant fictional mode in the United States during the twentieth century. John Updike has claimed specifically that what he calls novels of domestic morality, as written by Williams Dean Howells, John O?Hara, and himself among many others, was dominant. Other critics have argued that the naturalism of writers like Theodore Dreiser, Richard Wright, and Russell Banks is most typical. We will look at these forms as well as the novel of manners, the proletarian novel, and modernist and perhaps even postmodernist versions of realism or naturalism. In addition to novels or short-story collections, we will read theoretical work on realism and naturalism.
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  • 76 428: 18th Century Literary and Cultural Studies

    9.00 Credits
    Carnegie Mellon University

    This period in British history, 1660-1760, plays an important role in what we call ?the modern.? ?Reason,? ?enlightenment,? ?the public sphere,? ?the rights-bearing individual,? indeed, modern imperialism and the nation-state, while not originating during this time, took on characteristic forms that are recognizable as ?modern? from our historical perspective. This course focuses on how present-day literary scholars construct the years between 1660 and 1760: What cultural narratives do they weave around the literature of this period? What theoretical paradigms inform their construction of the period and their readings of the literature? To this end, we will read a wide sampling of imaginative literary texts?prose fiction, nonfiction prose, poetry, and drama?written, published, and/or performed during this period, as well as sampling some of the period's rich visual culture of painting, prints, and the decorative arts. While the majority of our materials will be primary works from the period, we will also read classic and recent secondary research on these works and the period, tracing the influence of key cultural theories of gender, sexuality, race, ethnicity and class.
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  • 76 432: Advanced Seminar in African American Studies

    9.00 Credits
    Carnegie Mellon University

    Topics will vary by semester. Consult the course descriptions provided by the department for current offerings. Example, Fall 2011: This course will be an in-depth study of James Baldwin's works as well as the writers and thinkers that influenced him. Baldwin's rumination on American life during and after the epoch defining events of Civil Rights Era reflects the great political and cultural transformations the country struggled through. In this course students will read canonical works such as Notes of A Native Son and Giovanni's Room as well as lesser know works like One Day When I Was Lost, Baldwin's screenplay for a never-to-be-produced film project on Malcolm X and Little Man, Little Man: A Story of Childhood, a children's novel he published in 1976. Besides Baldwin's works we will read and connect Baldwin's thoughts on literature, race, sexuality and politics to some of his immediate contemporaries like Richard Wright, William Faulkner, Flannery O?Connor and others who had an influence on Baldwin's imagination and craft.
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  • 76 436: 20h Century British and American Literary and Cultural Studies

    9.00 Credits
    Carnegie Mellon University

    The aim of this seminar is to explore how and why American literary modernism emerged as a legitimate academic field of knowledge and a consumed cultural product. What we now understand in the American academy as modernism is a very recent creation and can be attributed ? in part at least - to Hugh Kenner's 1975 book A Homemade World: The American Modernist Writer. Kenner's book was part of an explosion of modernist studies during the 1960s and 70s. More scholarly books, articles, panels and courses(!) were focused on modernism than anytime before. Why is that? What accounted for this boom? With the above questions in mind our seminar will have the trappings of a survey course in that it follows a chronological order and highlights key works of literature and criticism. However, our aim is not to reproduce a master archive of definitive modernist works. Instead, our survey will serve two purposes. First, it will show that American modernism is not a monolithic movement. There were in fact many "modernisms" that although similar drew from different national and transnational sources. Second and most important our survey of works seeks to answer the "why" and "what" questions about modernism. To that end we will treat the emergence of these modernisms as a way to think the relationship between nationalist politics, the arts and literary criticism.
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  • 76 439: Advanced Seminar in Film and Media Studies

    9.00 Credits
    Carnegie Mellon University

    Topics will vary by semester. Consult the course descriptions provided by the department for current offerings. Spring 2011: Throughout most of its history, Hollywood film has been star driven. Films were created for particular stars, who were far more important to most viewers than any other creative contributors. While the presence of a star was not a guarantee of box office success, it made the odds much better. As a result, the studios worked hard to create stars. They produced back-stories for stars so that the public could believe it knew them personally, while the stars' actual private lives were carefully shielded from public scrutiny. By limiting and crafting the kinds of roles stars might perform, the studios helped to develop star personas, which were public personalities that persisted from role to role. This course will focus on those personas. We will watch representative films featuring leading stars and work at interpreting what these icons meant to film audiences and the culture at large. Among the stars we are likely to consider are Charlie Chaplin, Greta Garbo, Cary Grant, Katherine Hepburn, Humphrey Bogart, Betty Davis, John Wayne, Marilyn Monroe, James Dean, Woody Allen, Jack Nicholson, Julia Roberts, and George Clooney. We will look at how film stardom changes over nearly a century, moving from Chaplin's everyman, to the finely honed personalities of Grant and Hepburn, to the politically inflected Wayne and Dean, and perhaps back to pure personality with Roberts and Clooney.
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  • 76 444: Studies in Print Culture

    9.00 Credits
    Carnegie Mellon University

    The first modern media age emerged in the eighteenth-century, with new forms of print, orality, and their impact on a growing public. We will consider Enlightenment theories and practices of communication, media, and the book, then explore their Romantic and Victorian transformations in the nineteenth century. Reading a selection of poems, essays, novels and critical theory ? along with a good deal of current book-history and media scholarship ? we will aim to understand the relation between print as a set of material forms, on the one hand, and wider cultural processes at work in the eighteenth and nineteenth centuries. These included the power of the early modern Republic of Letters and its disintegration by 1800, then the ensuing reconfiguration of its knowledges in the nineteenth-century cultural fields and disciplines. We will also look at the forming and division of new reading publics and their ways of reading print; important changes in book production, typography, printing methods (hand-press to steam press), and bookselling. We will study the relation between the aesthetic powers of the "text" and the material pleasures of the "book;" the emergence of a modern, imaginative category of "literature" in conjunction with the consolidating power of the novel. For the longer trajectory of print history, we will also introduce the current forms of "digital humanities" and "new media" as they are now reshaping the academic landscape. Research papers using rare-print materials at the Hunt or Hillman library Special Collections will be especially encouraged; as are digitally-based projects for those interested in developing such things. One medium-length and one longer research paper will be required along with various short assignments on texts and artifacts.
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